RUSS LOSSING - Changes
Steeplechase SCCD 31863
Russ Lossing (p); Michael Formanek (b); Gerald Cleaver (d)
Lossing may have named his new album Changes with the idea of playing something a little different to his usual output along with the other interpretation that his trio were playing chord ‘changes’ throughout. Not his usual experimental music but mostly jazz standards and two of his own compositions. He is a self -confessed ‘interval guy’ and this is apparent in his first selection here Bye Bye Blackbird, where he begins with some scattered phrases before latching onto the melody and observing intervals before bringing in bass and drums. His touch too is different as he has an ultra- light pressure on the piano keys on many of these selections and produces a unique, personal sound. He says he had to purge certain things from his playing, certain links to people like Bill Evans and Herbie Hancock. Well, OK but it has to be said that his ultralight, bell like sound on ballads and very slow pieces is reminiscent of Evans’ approach. Little Girl Blue is played very slowly and with that lightness of touch, but it works well in this reading.
An admirer of Thelonious Monk, Lossing plays three of his pieces here. Crepuscule With Nellie has his own stamp on it and little in the way of jagged or off-centre chords as the composer used to indulge in to good effect. Here the Monk standard is played straight but once more with a light touch and an original approach, something most jazz pianists find difficult, if not impossible. Much the same applies to Ugly Beauty and Epistrophy, personal interpretations both. Ellington’s Prelude To A Kiss, which bears more than a passing resemblance to April In Paris is also given the very slow tempo, delicate piano lines treatment. Mostly in the background, bassist Formanek and drummer Cleaver give sympathetic, restrained support throughout, only breaking out at the end on the leader’s Barometer which starts out as an up tempo duologue between pianist and drummer and then settles into a three way tear up between pianist, bassist and drummer. Overall though, this is a fresh and original recital by three musicians very much in tune with what the leader wanted.
Reviewed by Derek Ansell
Steeplechase SCCD 31863
Russ Lossing (p); Michael Formanek (b); Gerald Cleaver (d)
Lossing may have named his new album Changes with the idea of playing something a little different to his usual output along with the other interpretation that his trio were playing chord ‘changes’ throughout. Not his usual experimental music but mostly jazz standards and two of his own compositions. He is a self -confessed ‘interval guy’ and this is apparent in his first selection here Bye Bye Blackbird, where he begins with some scattered phrases before latching onto the melody and observing intervals before bringing in bass and drums. His touch too is different as he has an ultra- light pressure on the piano keys on many of these selections and produces a unique, personal sound. He says he had to purge certain things from his playing, certain links to people like Bill Evans and Herbie Hancock. Well, OK but it has to be said that his ultralight, bell like sound on ballads and very slow pieces is reminiscent of Evans’ approach. Little Girl Blue is played very slowly and with that lightness of touch, but it works well in this reading.
An admirer of Thelonious Monk, Lossing plays three of his pieces here. Crepuscule With Nellie has his own stamp on it and little in the way of jagged or off-centre chords as the composer used to indulge in to good effect. Here the Monk standard is played straight but once more with a light touch and an original approach, something most jazz pianists find difficult, if not impossible. Much the same applies to Ugly Beauty and Epistrophy, personal interpretations both. Ellington’s Prelude To A Kiss, which bears more than a passing resemblance to April In Paris is also given the very slow tempo, delicate piano lines treatment. Mostly in the background, bassist Formanek and drummer Cleaver give sympathetic, restrained support throughout, only breaking out at the end on the leader’s Barometer which starts out as an up tempo duologue between pianist and drummer and then settles into a three way tear up between pianist, bassist and drummer. Overall though, this is a fresh and original recital by three musicians very much in tune with what the leader wanted.
Reviewed by Derek Ansell
